Bio:
I grew up in Nara, an ancient city that has existed for 1,300 years. As I spent time with ancient temples, shrines, and ruins, I subconsciously sensed the willpower and strength that resides in the objects that have survived for more than 1,000 years despite their decayed appearance. I have come to believe that things have a core form that exists in another dimension than their physical appearance.
It is this core form that I want to depict in my work. I seek to depict something that strongly exists. It may look inorganic, but it has the vitality of an organic substance.
In this age of information overload, many things seem to flow away in the blink of an eye, making it difficult to see the core of things, and I hope to help people realize that each thing has its own unique way of being and to find it.

Background and influences.
I have loved to draw since I was a child, but I went to university in the Department of French Literature in the Faculty of Letters, where I studied ontology, focusing on French thought of the 20th century. Existence is something that we take for granted in our daily lives and do not pay attention to. However, it becomes apparent with a strong impression when we suddenly become aware of our mortality. I was greatly influenced by such thoughts and came to want to paint figures that rediscover the existence and value of them.
An artist who has influenced me is Takeo Yamaguchi. I was strongly attracted to his paintings with simple forms, yet with a sense of perspective and presence. This was the impetus for me to aim for works that convey a lot even if they have little to say.
 
About the artworks.
My works are often mistaken for computer graphics, but they are all hand-drawn. Everything that exists on earth is composed of particles such as cells and molecules. The reason I draw motifs with circle and oval patterns is to express such a primordial nature of existence.
The reason I don’t draw patterns with computer graphics is because I don’t need perfect figures. I believe that it is precisely because the figures are not perfect that they express vitality, and it is precisely because things are not perfect that they become individual and unique.
I use acrylic or oil paints for coloring. When I want to create a sharp image, I use acrylic paints, and when I want to express softness and narrative, I use oil paints.
During the coloring stage, I make a clay model of the motif to give it a realistic appearance and check how the light hits it. I put a simple gradation of colors to accentuate the motif's pattern.
The reason I don’t paint the background is to express the feeling that the surrounding scenery has all disappeared and there is only myself and the motif.
 
Exhibitions and group shows.
I started to present my works on social networking sites around 2019, and started exhibiting my works around 2020. Mainly small works are shown in group exhibitions, while larger works are exhibited in art museums. In 2024, my works were exhibited at four major museums in four cities, including the National Museum of Art, the largest museum in Japan.